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Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/correggioOObostrich 


MASTERS    IN    ART 

A       SERIES       OF       ILLUSTRATED 
MONOGRAPHS:     ISSUED     MONTHLY 


PART    24 


DECEMBER,     1901 


VOLUME  2 


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CONTENTS 


Plate  I.  Madonna  with  St.  Francis 

Plate  II.        Madonna  with  St.  Jerome 

Plate  III.      The  Holy  Family 

Plate  IV.       Madonna  della  Scodella  [Detail] 

Plate  V.         The  Nativity  ("The  Night") 

Plate  VI.       Danae 

Plate  VII.      Madonna  with  St.  Sebastian 

Plate  VIII.   The  Virgin  Adoring  the  Christ-child 

Plate  IX.       Marriage  of  St.  Catherine 

Plate  X.         Madonna  with  St.  George 

Autograph  by  Correggio 

The  Life  of  Correggio  "  Page  21 

M.  G.  Van  Rensselaer 
The  Art  of  Correggio  Page  24 

Ckiticisms  by  Symonds,  Kugler,  Van  Dyke,  Lubke 
Ricci,   Berenson,   Burckhardt,  Rossetti,  Gautier 

The  Works  of  Correggio:  Descriptions  of  Plates  and  List  of  Paintings  Page  33 

Correggio  Bibliography  Page  39 

Photo- F.ngraziings  hy  Folsom  and  Suntrgren:  Boston.      Prtss-wori  hy  tht  Evirttt  Press:  Boston, 


Royal  Gallery:  Dresden 

Parma  Gallery 

National  Gallery:  London 

Parma  Gallery 

Royal  Gallery:  Dresden 

Borghese  Gallery:  Rome 

Royal  Gallery:  Dresden 

Uffizi  Gallery:  Florence 

Louvre  :  Paris 

Royal  Gallery:  Dresden 

Page  20 


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No  authenticated  portrait  of  Correggio  has  been  discovered.  A  picture 
which  Dosso  Dossi  is  said  to  have  painted  of  him  cannot  be  identified, 
and  the  claims  of  several  pretended  likenesses  have  been  conclusively 
disproved.  We  have,  however,  a  few  specimens  of  his  handwriting, 
and  the  autograph  lines  here  shown  are  a  receipt  for  "  forty  pounds  of 
the  ancient  currency"  which  he  received  in  1522  as  an  advance  pay- 
ment for  the  unfinished  '  Nativity,'  upon  which  he  was  then  at  work. 
They  read:  "And  I,  Antonio  Lieto  of  Correggio,  declare  that  I  received 
the  sum  mentioned  on  the  day  and  in  the  year  aforesaid,  in  token  of 
which  I  have  written  this  with  mv  own  hand." 


M  ASTERS    I  N     ART 


Antonio  ^llt^n  tra  fynt^po 


BORN    1494(?):    DIED    1534 
SCHOOL    OF    FERRARA 


T 


HE  present  monograph  treats  of  Correggio  only  as  a  painter  of  pictures 
in  oil.    A  future  issue  will  be  devoted  to  his  frescos. 


ALTHOUGH  Antonio  AUegri  da  Correggio  justly  ranks  as  one  of  the 
jljL  six  or  eight  most  famous  painters  in  the  history  of  art,  few  authenti- 
cated facts  concerning  his  life  have  come  down  to  us.  This  may  be  ac- 
counted for  by  the  comparative  obscurity  in  which  he  lived,  far  from  the 
great  art  centres  of  Venice,  Florence,  and  Rome.  The  belief,  however,  that 
he  was  absolutely  self-made  and  had  in  his  youth  no  artistic  environment 
worthy  the  name  has  been  proved  to  be  false,  for  there  is  evidence  to  show 
that  Correggio  grew  up  as  the  protege  of  Veronica  Gambara,  wife  of  the 
Lord  of  Correggio,  amid  the  refinements  of  a  small  but  cultivated  court; 
and  the  story  of  his  abject  poverty  is  as  foundationless  as  is  that  famous 
legend  of  Vasari's  that  his  death  was  caused  by  exhaustion,  occasioned  by 
his  carrying  on  his  back  from  Parma  to  his  home  in  Correggio,  to  save  the 
cost  of  transportation,  a  sum  of  sixty  scudi  that  had  been  paid  him  in  cop- 
per money. 

It  may  be  that  the  very  lack  of  history  concerning  Correggio  gave  rise  to 
the  legends  related  by  his  early  biographers, — legends  which  recent  investi- 
gations have  proved  to  be  purely  apocryphal.  We  may,  for  instance,  no 
longer  place  implicit  credence  in  the  story  that  when  Titian  visited  Parma 
and  was  shown  Correggio's  frescos  by  the  monks,  who  disparaged  them  as 
poor  things  which  they  were  about  to  have  replaced,  the  Venetian  painter 
exclaimed,  "Have  a  care  what  you  do;  if  I  were  not  Titian  I  should  wish 
to  be  Allegri!"  We  must  also  doubt  his  further  rebuke  to  the  local  digni- 
taries for  their  light  estimate  of  Correggio's  work  in  the  Parma  Cathedral, 
when  he  is  reported  to  have  declared,  "Turn  the  cupola  upside  down  and 
fill  it  with  gold,  and  even  that  will  not  amount  to  its  money's  worth."  An- 
other story,  which  tells  of  Correggio's  standing  before  Raphael's  picture  of 
St.  Cecilia,  in  Bologna,  which  it  is  said  he  had  long  wished  to  see,  and  cry- 
ing, "I  too  am  a  painter!"  has  been  definitely  proved  to  be  but  a  fable. 

Indeed,  to  his  contemporaries  Correggio  was  all  but  unknown,  and  when 


22  0ia$ittt^in'Rtt 

his  art  was  finally  discovered  the  memory  of  the  artist's  personality  was 
well-nigh  lost.  Early  biographies  of  him  are  full  of  errors  and  misstatements, 
and  not  until  Dr.  Julius  Meyer  published,  in  1871,  his  study  of  Correggio 
was  there  any  life  of  the  artist  in  which  evidence  had  been  sifted  and  exam- 
ined. This  has  now  been  followed  by  a  more  authoritative  and  comprehen- 
sive work,  written  by  Signor  Corrado  Ricci,  director  of  the  Parma  Gallery. 
But  although  in  the  light  of  modern  research  and  criticism  much  has  been 
disproved  that  long  lingered  in  the  popular  mind  as  fact  concerning  Antonio 
Allegri,  it  must  be  admitted  that  little  has  been  learned  of  the  personal  life 
of  the  great  painter. 

M.     G.    VAN     RENSSELAER  'SIX    PORTRAITS' 

ANTONIO  ALLEGRI  was  born,  probably  in  1494,  at  the  little  village 
2\.  of  Correggio,  near  Modena,  from  which  he  takes  his  artist-name.  His 
parents  were  burghers  in  decent  circumstances.  The  town  was  a  seat  of  a 
miniature  court,  and,  like  all  its  neighbors,  boasted  local  talent  and  patron- 
ized art  in  a  tiny  way.  It  is  nevertheless  uncertain  from  whom  Antonio  got 
his  first  lessons;  probably  it  was  from  an  uncle,  whom  tradition  represents 
as  the  worst  of  bunglers.  In  his  boyhood  he  went  to  Modena  and  learned 
of  painters  there.  The  chief  among  them  was  Bianchi  Ferrari,  a  scholar  of 
Francia's,  imbued  with  traditions  of  Urbino  and  its  school.^  He  died  when 
his  pupil  was  sixteen.  Before  his  scanty  schooling  was  complete  Antonio 
went  also  to  Mantua,  where  Mantegna  had  been  the  head  and  front  of  the 
Lombard  school.  His  influence  is  easily  read  in  Correggio's  early  work, 
especially  in  the  'St.  Francis'  of  the  Dresden  Gallery.  This  was  his  first  im- 
portant picture,  painted  when  he  was  twenty ;  and  it  was  evidently  modeled 
upon  Mantegna's  'Vierge  de  la  Victoire,'  now  in  the  Louvre.  Yet  the  in- 
fluence was  not  personal,  for  the  great  Lombard  had  died  when  Correggio 
was  only  twelve  years  old:  from  his  pictures  or  his  scholars,  not  from  him- 
self, the  boy  must  have  learned  his  marvelous  perspective  and  his  fashion 
of  foreshortening  from  the  point  of  view  of  the  spectator. 

Leonardo's  influence  seems  almost  as  visible  as  Mantegna's  in  Correg- 
gio's work,  exhibited  especially  in  his  wonderful  chiaroscuro.  Yet  it  is  diffi- 
cult to  imagine  how  it  can  have  been  exerted.  No  one  has  shown,  even  to 
the  point  of  probability,  that  canvases  by  Leonardo  had  found  their  way  to 
Mantua  or  Modena;  and  it  is  still  more  improbable  that  Correggio  ever 
visited  Milan.  Again,  there  is  strong  evidence  to  disprove  the  fact,  which 
was  long  asserted,  that  Correggio  learned  perspective  of  Melozzo  da  Forli; 
and  it  is  conclusively  shown  that  he  never  traveled  to  Rome,  while  there  is 
no  evidence*t6  show  that  he  even  visited  Bologna. 

If  we  come  down  to  facts,  we  find  that  Antonio's  youth  was  spent  be- 
tween Correggio,  Mantua,  and  Modena,  and  was  influenced  only  by  the 
forces  that  these  towns  could  bring  to  bear.    General  culture,  including  a 

^  Francia,  Costa,  and  Dosso  Dossi  are  also  believed  by  some  authorities  to  have  been  Correggio's  early 
teachers  ;  but  all  discussion  about  his  masters  ends  where  it  begins,  in  conjecture.  —  Editor. 


€orre00io  23 

knowledge  of  anatomy,  he  is  said  to  have  imbibed  from  Giambattista  Lom- 
bardi,  a  physician. 

While  still  in  his  teens  he  was  back  at  Correggio,  his  education  finished, 
his  contact  with  art  and  artists  forever  at  an  end.  Now  he  painted  the 
Dresden  'St.  Francis,'  with  its  clear  echo  of  Mantegna,  yet  unmistakable 
personal  accent,  and  a  few  years  later  bequeathed  us  the  famous  'Marriage 
of  St.  Catherine,'  which  hangs  in  the  Louvre.  No  teacher  had  given  the  lad 
further  counsel,  no  other  great  man's  work  a  further  inspiration,  yet  from 
the  'St.  Catherine'  all  traces  of  Mantegna  have  disappeared.  Here,  at  the 
age  of  twenty-eight,  Correggio  is  as  exclusively  and  as  fully  himself  as  when 
he  paints  the  Dresden  'Night'  a  few  years  before  his  death;  and  through 
the  intervening  period  runs  the  current  of  his  lovely  work,  untroubled  by 
outward  influences  or  by  mutations  in  the  man  himself. 

In  1518  Correggio  left  his  village  for  a  somewhat  wider  field  at  Parma, 
probably  in  answer  to  a  direct  invitation,  as  important  orders  were  at  once 
forthcoming.  Between  this  year  and  1524  he  painted  his  frescos  in  the 
cloisters  of  San  Paolo,  in  the  Church  of  San  Giovanni,  and  in  the  dome  of 
the  Cathedral.  Near  the  latter  date  also  belong  his  most  famous  easel-pic- 
tures. Once  he  almost  came  in  contact  with  the  great  outer  world.  Through 
some  channel  unknown  to  us,  Federigo,  Duke  of  Mantua,  ordered  of  him 
two  mythological  pictures  as  a  gift  for  the  Emperor  Charles  V.  But  it  is 
proved,  as  clearly  as  proof  is  possible,  that  Correggio  himself  was  not  called 
to  Mantua;  and  the  fact  is  a  measure  of  his  obscurity,  for  Federigo  stood  in 
close  friendship  with  many  other  artists.  The  commission  was  doubtless 
given  in  a  half-careless  way  as  proper  patronage  for  "local  talent."  It  is 
impossible  to  say,  moreover,  for  whom  Correggio  painted  the  other  pictures 
in  the  mythological  series  to  which  the  two  designed  for  Charles  V.  belong. 

Correggio  married  in  1520,  or  soon  after,  during  a  visit  home,  a  young 
girl  by  the  name  of  Girolama  Merlini,  but  his  wife  seems  to  have  followed 
him  back  to  Parma  only  after  an  interval  of  several  years.  She  died,  most 
probably,  between  1528  and  1530;  and  in  1530  Correggio  returned  to  his 
native  town,  where  he  spent  the  remaining  four  years  of  his  life. 

In  this  last  change  of  residence  we  have  a  forcible  proof  of  his  unlikeness 
to  the  other  great  painters  of  his  day.  It  is  true  that  at  Parma  he  had  no 
equals  in  his  art,  no  rivals,  and  scarcely  any  fellow-workers.  Even  there  he 
was  out  of  the  main  current  of  influence,  competition,  and  reward.  But  he 
had  at  least  a  pubHc  of  some  size  which  had  given  him  commissions  for  noble 
work,  and  his  foot  was  on  the  threshold  of  the  rich  outer  world.  A  return 
to  Correggio  was  a  deliberate  retreat,  in  the  very  prime  of  early  manhood, 
to  the  obscure  monotony  of  village  life  and  the  limitations  of  easel-painting. 
Such  a  move  stands  indeed  in  contrast  to  the  wish  for  full  existence,  the 
search  for  grand  opportunities,  the  love  of  conflict,  fame,  and  favor  that  so 
essentially  characterized  the  artists  of  the  Renaissance. 

There  is  nothing  further  to  tell  about  Correggio.  He  died  in  1534,  at  the 
age  of  forty,  apparently  in  full  possession  of  his  powers.  It  was  a  short  life, 
yet  three  years  longer  than  Raphael's;  and   Raphael  had  found  time  and 


24  0la^ttt^    in    ^xt 

strength  for  a  cycle  of  work  still  wider  than  Correggio's,  —  for  the  occupa- 
tions of  a  courtier  first,  and  later  of  a  veritable  prince,  and  for  the  labors 
of  an  architect,  an  antiquary,  and  a  teacher  of  the  whole  artist-generation 
just  below  him.  Raphael's  full,  ambitious  life  may  seem  exceptional  in  the 
eyes  of  today;  but  it  was  the  natural,  typical  life  of  an  artist  in  his  time. 
And  Raphael's  funeral,  Raphael's  tomb,  were  but  the  necessary  tribute  of 
his  age  to  the  endowments  that  it  valued  most.  The  real  place  to  be  sur- 
prised is  when  we  find  Correggio's  grave  covered  by  a  wooden  slab  with 
merely  ^'Jntonius  de  Jllegris^  Pictor"  carved  upon  it,  and,  looking  further 
on  history's  page,  discover  that  it  was  a  hundred  years  before  even  a  few 
words  cut  in  store  replaced  this  first  curt  record. 


Cf)e  art  of  Correggio 

JOHN   ADDINGTON   SYMONDS         'SKETCHES   AND  STUDIES   IN   ITALY  AND    GREECE' 

THE  world  created  by  Correggio  is  very  far  removed  from  that  of  actual 
existence.  No  painter  has  infused  a  more  distinct  individuality  into  his 
work,  realizing  by  imaginative  force  and  powerful  projection  an  order  of 
beauty  peculiar  to  himself,  before  which  it  is  impossible  to  remain  quite 
indifferent.  We  must  either  admire  the  manner  of  Correggio  or  else  shrink 
from  it  with  the  distaste  which  sensual  art  is  apt  to  stir  in  natures  of  a  severe 
or  simple  type.  What  then  is  the  Correggiosity  of  Correggio  ?  In  other  words, 
what  is  the  characteristic  which,  proceeding  from  the  personality  of  the  artist, 
is  impressed  on  all  his  work? 

The  first  thing  that  strikes  us  in  the  art  of  Correggio  is  that  he  has  aimed 
at  the  realistic  representation  of  pure  unrealities.  His  saints  and  angels  are 
beings  the  like  of  whom  we  have  hardly  seen  upon  the  earth.  Yet  they  are 
displayed  before  us  with  all  the  movement  and  the  vivid  truth  of  nature. 
Next,  we  feel  that  what  constitutes  the  superhuman,  visionary  quality  of 
these  creatures  is  their  uniform  beauty  of  a  merely  sensuous  type.  They  are 
all  created  for  pleasure,  not  for  thought  or  passion  or  activity  or  heroism. 
The  uses  of  their  brains,  their  limbs,  their  every  feature,  end  in  enjoyment; 
innocent  and  radiant  wantonness  is  the  condition  of  their  whole  existence. 
Correggio  conceived  the  universe  under  the  one  mood  of  sensuous  joy:  his 
world  was  bathed  in  luxurious  light;  its  inhabitants  were  capable  of  little 
beyond  a  soft  voluptuousness.  Over  the  domain  of  tragedy  he  had  no  sway, 
and  very  rarely  did  he  attempt  to  enter  upon  it.  In  like  manner,  he  could 
not  deal  with  subjects  which  demand  a  pregnancy  of  intellectual  meaning. 
In  this  respect  he  might  be  termed  the  Rossini  of  painting.  The  melodies 
of  the  'Stabat  Mater' —  ^ Fac  ut  partem^  or  '^is  est  homo' — are  the  exact 
analogues  in  music  of  Correggio's  voluptuous  renderings  of  grave  or  mys- 
terious motives.  Nor,  again,  did  he  possess  that  severe  and  lofty  art  of 
composition  which  subordinates  the  fancy  to  the  reason,  and  which  seeks  for 


Correggio  25 

the  highest  intellectual  beauty  in  a  kind  of  architectural  harmony  supreme 
above  the  melodies  of  gracefulness  in  detail.  The  Florentines,  and  those 
who  shared  their  spirit, — Michelangelo  and  Leonardo  and  Raphael, — deriv- 
ing this  principle  of  design  from  the  geometrical  art  of  the  Middle  Ages, 
converted  it  to  the  noblest  uses  in  their  vast  well-ordered  compositions.  But 
Correggio  ignored  the  laws  of  scientific  construction.  It  was  enough  for 
him  to  produce  a  splendid  and  brilliant  effect  by  the  life  and  movement  of 
his  figures,  and  by  the  intoxicating  beauty  of  his  forms. 

His  type  of  beauty,  too,  is  by  no  means  elevated.  Leonardo  painted  souls 
whereof  the  features  and  the  limbs  are  but  an  index.  The  charm  of  Michel- 
angelo's ideal  is  like  a  flower  upon  a  tree  of  rugged  strength.  Raphael  aims 
at  the  loveliness  which  cannot  be  disjoined  from  goodness.  But  Correggio 
is  contented  with  bodies  "delicate  and  desirable."  His  angels  are  genii  dis- 
imprisoned from  the  perfumed  chalices  of  flowers,  houris  of  an  erotic  para- 
dise, elemental  spirits  of  nature  wantoning  in  Eden  in  her  prime.  To  accuse 
the  painter  of  conscious  immorality,  or  of  what  is  stigmatized  as  sensuality, 
would  be  as  ridiculous  as  to  class  his  seraphic  beings  among  the  products  of 
the  Christian  imagination.  They  belong  to  the  generation  of  the  fauns;  like 
fauns,  they  combine  a  certain  savage  wildness,  a  dithyrambic  ecstasy  of 
inspiration,  a  delight  in  rapid  movement  as  they  revel  amid  clouds  or  flowers, 
with  the  permanent  and  all-pervading  sweetness  of  the  master's  style.  When 
infantine  or  childlike,  these  celestial  sylphs  are  scarcely  to  be  distinguished 
for  any  noble  quality  of  beauty  from  Murillo's  cherubs,  and  are  far  less  divine 
than  the  choir  of  children  who  attend  Madonna  in  Titian's  'Assumption.* 
But  in  their  boyhood  and  their  prime  of  youth  they  acquire  a  fullness  of 
sensuous  vitality  and  a  radiance  that  are  peculiar  to  Correggio.  .   .  . 

As  a  consequence  of  this  predilection  for  sensuous  and  voluptuous  forms, 
Correggio  had  no  power  of  imagining  grandly  or  severely.  .  .  .  He  could 
not,  as  it  were,  sustain  a  grave  and  solemn  strain  of  music.  He  was  forced 
by  his  temperament  to  overlay  the  melody  with  roulades.  Gazing  at  his 
frescos,  the  thought  came  to  me  that  Correggio  was  like  a  man  listening  to 
sweetest  flute-playing,  and  translating  phrase  after  phrase  as  they  passed 
through  his  fancy  into  laughing  faces,  breezy  tresses,  and  rolling  mists. 
Sometimes  a  grander  cadence  reached  his  ear;  and  then  St.  Peter  with  the 
keys,  or  St.  Augustine  of  the  mighty  brow,  or  the  inspired  eyes  of  St.  John, 
took  form  beneath  his  pencil.  But  the  light  airs  returned,  and  rose  and  lily 
faces  bloomed  again  for  him  among  the  clouds.  It  is  not  therefore  in  dignity 
or  sublimity  that  Correggio  excels,  but  in  artless  grace  and  melodious  ten- 
derness. The  'Madonna  della  Scala,'  clasping  her  baby  with  a  caress 
which  the  little  child  returns,  St.  Catherine  leaning  in  a  rapture  of  ecstatic 
love  toward  the  infant  Christ,  St.  Sebastian  in  the  bloom  of  almost  boyish 
beauty,  are  the  so-called  sacred  subjects  to  which  the  painter  was  adequate, 
and  which  he  has  treated  with  the  voluptuous  tenderness  we  find  in  his  pic- 
tures of '  Leda '  and  '  lo '  and  '  Danae.'  Could  these  saints  and  martyrs  descend 
from  Correggio's  canvas,  and  take  flesh,  and  breathe,  and  begin  to  live,  of 
what  high  action,  of  what  grave  passion,  of  what  exemplary  conduct  in  any 


26  jma^ter^in^rt 

walk  of  life  would  they  be  capable?  That  is  the  question  which  they  irre- 
sistibly suggest;  and  we  are  forced  to  answer.  None!  The  moral  and  relig- 
ious world  did  not  exist  for  Correggio.  His  art  was  but  a  way  of  seeing 
carnal  beauty  in  a  dream  that  had  no  true  relation  to  reality. 

Correggio's  sensibility  to  light  and  color  was  exactly  on  a  par  with  his 
feeling  for  form.  He  belongs  to  the  poets  of  chiaroscuro  and  the  poets  of 
coloring;  but  in  both  regions  he  maintains  the  individuality  so  strongly 
expressed  in  his  choice  of  purely  sensuous  beauty.  Tintoretto  makes  use  of 
light  and  shade  for  investing  his  great  compositions  with  dramatic  intensity. 
Rembrandt  interprets  sombre  and  fantastic  moods  of  the  mind  by  golden 
gloom  and  silvery  irradiation,  translating  thought  into  the  language  of  penum- 
bral  mystery.  Leonardo  studies  the  laws  of  light  scientifically,  so  that  the 
proper  roundness  and  effect  of  distance  should  be  accurately  rendered,  and 
all  the  subtleties  of  Nature's  smiles  be  mimicked.  Correggio  is  content  with 
fixing  on  his  canvas  the  many-twinkling  laughter  of  light  in  motion,  rained 
down  through  fleecy  clouds  or  trembling  foliage,  melting  into  half-shadows, 
bathing  and  illuminating  every  object  with  a  soft  caress.  There  are  no 
tragic  contrasts  of  splendor  sharply  defined  on  blackness,  no  mysteries  of 
half-felt  and  pervasive  twilight,  no  studied  accuracies  of  noonday  clearness 
in  his  work.  Light  and  shadow  are  woven  together  on  his  figures  like  an 
impalpable  Coan  gauze,  aerial  and  transparent,  enhancing  the  palpitations 
of  voluptuous  movement  which  he  loved.  His  coloring,  in  like  manner,  has 
none  of  the  superb  and  mundane  pomp  which  the  Venetians  affected ;  it  does 
not  glow  or  burn  or  beat  the  fire  of  gems  into  our  brain ;  joyous  and  wanton, 
it  seems  to  be  exactly  such  a  beauty-bloom  as  sense  requires  for  its  satiety. 
There  is  nothing  in  his  hues  to  provoke  deep  passion  or  to  stimulate  the 
yearnings  of  the  soul:  the  pure  blushes  of  the  dawn  and  the  crimson  pyres 
of  sunset  are  nowhere  in  the  world  that  he  has  painted.  But  that  chord  of 
jocund  color  which  may  fitly  be  married  to  the  smiles  of  light,  the  blues 
which  are  found  in  laughing  eyes,  the  pinks  that  tinge  the  cheeks  of  early 
youth,  and  the  warm  yet  silvery  tones  of  healthy  flesh  mingle  as  in  a  mar- 
velous pearl-shell  on  his  pictures.  Both  chiaroscuro  and  coloring  have  this 
supreme  purpose  in  art,  to  affect  the  sense  like  music,  and  like  music  to 
create  a  mood  in  the  soul  of  the  spectator. 

Now  the  mood  which  Correggio  stimulates  is  one  of  natural  and  thought- 
less pleasure.  To  feel  his  influence,  and  at  the  same  moment  to  be  the  sub- 
ject of  strong  passion,  or  fierce  lust,  or  heroic  resolve,  or  profound  contem- 
plation, or  pensive  melancholy,  is  impossible.  Wantonness,  innocent  because 
unconscious  of  sin,  immoral  because  incapable  of  any  serious  purpose,  is  the 
quality  which  prevails  in  all  that  he  has  painted. 

It  follows  from  this  analysis  that  the  Correggiosity  of  Coreggio,  that  which 
sharply  distinguished  him  from  all  previous  artists,  was  the  faculty  of  paint- 
ing a  purely  voluptuous  dream  of  beautiful  beings  in  perpetual  movement, 
beneath  the  laughter  of  morning  light,  in  a  world  of  never-faifing  April  hues. 
When  he  attempts  to  depart  from  the  fairyland  of  which  he  was  the  Pros- 
pero,  and  to  match  himself  with  the  masters  of  sublime  thought  or  earnest 


Correggto  27 

passion,  he  proves  his  weakness.  But  within  his  own  magic  circle  he  reigns 
supreme,  no  other  artist  having  blended  the  witcheries  of  coloring,  chiaros- 
curo, and  faunlike  loveliness  of  form  into  a  harmony  so  perfect  in  its  sensu- 
ous charm.  Bewitched  by  the  strains  of  the  siren  we  pardon  aft'ectations  of 
expression,  emptiness  of  meaning,  feebleness  of  composition,  exaggerated 
and  melodramatic  attitudes.  In  that  which  is  truly  his  own — the  delineation 
of  a  transient  moment  in  the  life  of  sensuous  beauty,  the  painting  of  a  smile 
on  Nature's  face,  when  light  and  color  tremble  in  harmony  with  the  move- 
ment of  joyous  living  creatures — none  can  approach  Correggio. 

F.    T.     KUGLER  'HANDBOOK    OF    PAINTING' 

CORREGGIO  has  been  justly  admitted  as  a  worthy  competitor  with  his 
three  great  contemporaries,  —  Leonardo,  Michelangelo,  and  Raphael. 
Not  so,  however,  if  the  higher  elements  of  beauty  and  dignity,  of  ideal 
grandeur  of  form  and  intensity  of  expression  be  pronounced  the  exclusive 
objects  of  art,  for  in  these  respects,  especially  when  compared  with  Raphael, 
he  was  often  deficient  or  mannered;  but  granting  him  to  be  thus  far  much 
inferior  to  these  masters,  he  must  still  be  considered  the  creator  of  a  sphere 
of  such  power  and  splendor  that  no  position  short  of  the  highest  can  be 
assigned  to  him.  He  seized  upon  that  niche,  which,  even  in  so  redundantly 
rich  a  period  of  art,  was  still  unoccupied,  by  venturing  to  depict,  as  it  were, 
the  very  pulses  of  life  in  every  variety  of  emotion  and  excitement;  till,  in 
the  luxuriance  of  his  ardent  representations,  the  beauties  and  the  faults,  the 
high  poetry  and  the  low  earthliness  of  his  productions  are  indissolubly  united. 

JOHN    C.     VAN    DYKE  THE    DIAL:    1896 

CORREGGIO  was  a  painter  of  striking  individuality,  but  his  isolation 
from  the  leaders  of  the  Renaissance  did  not  necessarily  produce  his  indi- 
viduality; he  was  simple,  almost  childlike,  in  his  thought,  having  little  care 
for  the  religious,  the  classic,  or  the  intellectual;  but  his  alleged  lack  of  edu- 
cation did  not  necessarily  produce  his  simplicity.  It  was  a  part  of  his  nature 
to  regard  all  things  for  what  they  looked  rather  than  for  what  they  meant, 
and  to  see  all  things  as  form  and  color  rather  than  as  symbols  of  ideas. 
Nothing  could  have  greatly  changed  that  point  of  view.  In  a  way,  he  was 
material  and  sensuous,  given  to  form  and  color  for  their  own  sake,  and  to 
human  beings  for  their  humanity's  sake.  The  problems  of  good  and  evil,  of 
sin,  death,  and  the  hereafter,  never  concerned  him.  To  live  and  be  glad  in 
the  sunlight,  to  be  simple,  frank,  natural,  and  graceful,  apparently  made  up 
his  sum  of  existence  in  art.  He  would  have  no  solemnity,  no  austerity,  no 
great  intellectuality.  Nothing  tragic  or  mournful  or  pathetic  interested  him. 
He  was  in  love  with  physical  life,  and  he  told  his  love  with  all  the  sentiment 
of  a  lover.  That  he  sometimes  nearly  precipitated  sentiment  into  sentimen- 
tality is  true.  He  barely  escaped  it,  and  his  followers  were  lost  in  it.  It  was 
the  imitation  of  Correggio  that  produced  the  insipidities  of  painters  like  Carlo 
Dolci  and  Sassoferato. 


28  ^a^ttt  0    in    ^xt 

That  Correggio,  technically,  should  have  been  so  perfect,  living  as  he  did 
shut  off  from  Florence  and  Venice,  is  more  remarkable  than  his  peculiar 
mental  attitude,  since  craftsmanship  is  seldom  well  taught  if  self-taught.  Yet 
Correggio  was  somehow  extremely  well  taught.  His  composition  was  occa- 
sionally involved  and  bewildering,  but  his  drawing  was  nearly  faultless  and 
his  movement  excellent.  His  light-and-shade  has  never  been  surpassed  by 
any  painter,  ancient  or  modern;  his  color  was  rich  and  harmonious;  his 
atmosphere  omnipresent  and  enveloping;  his  brush-work  sure  and  spirited. 
Indeed,  it  was  the  technique  of  his  art,  rather  than  the  spirit  of  it,  that  first 
drew  the  attention  of  painters  to  his  work,  and  they  made  it  known  to  the 
world. 

WILHELM    LUBKE  ^HISTORY    OF    ART' 

EVEN  as  a  youthful  artist  Correggio  must  have  had  an  exceedingly  deli- 
cate sensibility,  for  he  was  one  of  the  most  precocious  geniuses  in  the 
whole  history  of  art.  Endowed  with  unusual  exaltation  of  feeling,  with  great 
nervous  excitability,  he  aims  in  all  his  works  directly  at  bringing  out  this 
aspect  of  his  inner  life.  He  bathes  his  figures  in  a  sea  of  joy  and  ecstasy, 
fills  them  with  intoxicating  delight  and  rapture,  and  gives  to  the  sense  of 
pain  itself  an  expression  half  sweet,  half  sad.  He  scarcely  knows  what  is 
meant  by  dignity,  gravity,  or  nobility  of  form,  rhythmical  composition,  or 
the  beauty  that  is  in  harmony  of  line.  He  represents  his  figures  only  in  the 
lively  expression  of  some  feeling  full  of  inner  emotion,  and  in  restless  out- 
ward movement;  and  to  attain  this,  he  violates  all  strict  tradition,  and  over- 
steps all  the  laws  both  of  religious  conception  and  of  artistic  usage.  Who- 
ever looks  upon  his  forms  readily  perceives  that  they  belong  to  a  different 
sphere  from  those  of  the  other  great  masters.  His  Madonnas  and  Magdalens 
exhibit  the  same  genre-like  style  of  face,  the  same  dewy,  melting,  tenderly- 
languishing  eyes,  the  same  small  nose,  and  the  same  over-delicate,  smiling 
mouth  as  his  Danae,  his  Leda,  or  his  lo.  He  loves  to  portray  the  rapture 
of  passionate  devotion ;  but  the  expression  is  the  same,  whether  he  paints 
heavenly  or  earthly  love.  Yet,  though  he  knows  how  to  paint  most  perfectly 
the  transports  of  human  passion,  and  to  make  soft  and  swelling  limbs  seem 
trembling  in  a  paroxysm  of  ecstasy,  nevertheless,  with  few  exceptions,  his 
tone  remains  pure,  clear,  and  true;  and  hence,  from  his  point  of  view,  he 
does  not  demean  his  saintly  personages  when  he  portrays  them  as  alive  to 
these  same  emotions.  He  transports  them  all  back  into  the  state  of  paradi- 
siac innocence;  and  therein  lies  the  justification  of  his  work. 

But  his  peculiar  means  of  expression  is  a  light,  which,  softly  blended  with 
the  twilight,  and  interwoven  with  delicate  reflections  and  transparent  shad- 
ows, plays  around  his  forms  in  a  kind  of  chiaroscuro,  and  pervades  the  atmos- 
phere like  an  electric  fluid,  as  though  with  the  breath  of  some  delightful 
sensation.  In  producing  this  chiaroscuro,  with  all  its  minutest  gradations  and 
shadings,  Correggio  is  one  of  the  foremost  masters  of  painting.  He  it  was 
who  discovered  and  brought  to  a  wonderful  degree  of  perfection  this  new 
medium,  by  which  bodies  half  concealed  and  half  unveiled  appear  only  all 


Cotteggto  29 

the  more  attractive,  all  the  more  fascinating.  It  is  for  him  the  one  great 
instrumentality  through  which  his  art  works.  To  it  he  sacrifices  exalted 
style,  noble  design,  and  strong  grouping;  for  its  sake  he  even  commits  errors 
of  form,  and  contents  himself  with  commonplace  and  even  affected  traits, 
and  with  a  style  of  composition  in  which  effects  of  color  decide  everything; 
while  every  ideal  requirement  is  utterly  disregarded,  and  every  conceivable 
kind  of  foreshortening  is  freely  employed. 

CORRADO    RICCI  'ANTONIO    ALLEGRI    DA     CORREGGIO* 

CORREGGIO'S  development  has  been  a  fruitful  theme  of  discussion. 
He  was  long  supposed  to  have  been  a  member  of  the  Lombard  school, 
and  to  have  come  under  the  immediate  influence  of  Leonardo;  then,  after 
a  certain  manipulation  of  conflicting  dates,  he  was  relegated  to  Mantua  and 
pronounced  a  disciple  of  Mantegna;  but  academic  classicism  could  not 
brook  the  thought  of  his  exemption  from  Roman  influences,  and  proclaimed 
him  a  student  of  Raphael,  Michelangelo,  and  the  antiques  of  the  Eternal  City. 
Finally,  by  a  bold  and  happy  inspiration,  his  affiliation  to  these  various  schools 
was  canceled,  and  he  was  handed  over  to  that  of  Ferrara.  Correggio  indeed 
assimilated  all  the  energy  of  this  latter,  and  reinforced  it  with  the  depth  and 
grandeur  of  Mantegna's  conceptions,  but  only  to  prepare  himself  for  lofty 
and  independent  flight.  These  influences  were  but  the  point  d^appuiy  as  it 
were,  whence  he  rose  and  soared  on  the  wings  of  his  own  genius.  To  dis- 
cover their  traces,  we  are  compelled  to  a  close  analysis  of  his  work,  seeking 
them  within  the  narrow  limits  of  a  tint,  a  fold,  or  a  type.  Such  traces, 
barely  recognizable  in  his  mature  creations,  are  by  no  means  proclamatory 
even  in  his  juvenile  works,  where  conventional  and  scholastic  traits  are  "flp 
already  transfused  with  personal  sentiment.   .   .   . 

At  Parma,  far  from  the  direct  influences  alike  of  antique  art  and  of  the 
great  moderns,  both  such  irresistible  forces  in  Rome,  Correggio  was  able  to 
preserve  his  own  sincerity  and  to  follow  out  the  bent  of  his  peculiar  aptitudes, 
which  displayed  themselves  more  especially  in  the  movement  and  variety  of 
multitudinous  figures,  in  audacity  of  grouping,  in  a  consummate  mastery  of 
perspective,  combined,  nevertheless,  with  great  simplicity  of  conception  and 
unity  of  idea. 

His  compositions  are  never  characterized  by  a  lofty  development  of 
thought  or  incident.  The  life  he  expresses  in  each  subject  is  never  compli- 
cated by  contrasts,  but  unfolds  itself  in  a  smooth,  continuous  harmony, 
broken  at  most  only  by  the  gradations  of  a  dominant  sentiment.  It  is  a  life 
entirely  independent  of  realistic  or  historic  elements.   .   .   . 

Correggio  is  above  all  things  a  painter;  nay,  more;  he  may  perhaps  be 
called  the  painter /)<7r  excellence  among  the  great  Italians.  But  we  may  recog- 
nize this  truth  without  detracting  from  his  other  qualities.  His  composi- 
tions have  been  condemned  as  "uninteresting,"  and  as  "lacking  in  true 
beauty."  It  is  admitted  that  "he  grouped  his  figures  skilfully,"  but,  con- 
tinues the  critic,  "his  chief  concern  was  for  the  distribution  of  masses  in  his 
chiaroscuro,  rather  than  for  truth  of  expression." 


30  iWajefter^tn^rt 

Thus  is  Correggio  offered  up  as  a  sacrifice  by  those  who  wish  to  glorify 
Raphael !  They  ignore  the  severe  and  dignified  treatment  of  the  evangelists 
and  doctors  in  the  pendentives  of  San  Giovanni,  and  of  the  apostles  in  the 
dome  above,  and  the  lunette  in  the  same  church  with  the  Evangelist  of  Patmos, 
a  supreme  example  of  Correggio's  mastery  of  line;  they  overlook  the  trium- 
phant originality  of  the  'Madonna  with  St.  Jerome'  and  'The  Nativity,'  as 
contrasted  with  that  obedience  to  accepted  forms  which  characterizes  the  first 
and  the  last  of  his  great  altar-pieces,  the  'Madonna  with  St.  Francis,'  and 
the  'Madonna  with  St.  George.' 

It  is  obvious  that  Correggio  was  not  solely  preoccupied  with  pictorial 
effect,  as  is  supposed,  but  that  his  artistic  decisions  were  governed  by  an 
intense  perception  of  pictorial  unity.  His  treatment  was  further  influenced 
by  his  anxiety  to  give  life  and  movement  to  all  his  figures,  to  have  no  inert 
and  purposeless  character  in  the  drama.  In  expressing  the  sentiment  of  a 
conception  by  the  play  of  attitude  and  gesture  he  has  had  few  rivals ;  and 
this  is  the  more  remarkable  in  that  the  art  of  his  time  sought  beauty  rather 
in  harmony  of  lines  than  in  unity  of  interest.  The  number  of  supernumera- 
ries introduced  purely  for  effect  in  the  great  pictures  of  the  period  is  a  char- 
acteristic feature  of  the  age.  In  Correggio's  work,  on  the  other  hand,  each 
person  has  his  function.  St.  Joseph  is  no  longer  a  melancholy  and  passive 
intruder;  he  participates  in  the  joy  of  the  Virgin;  he  gathers  fruit  for  the 
Child,  or  plies  his  trade  beside  the  pair.  The  angels  no  longer  gaze  from 
the  canvas  in  rapt  and  motionless  abstraction.  They  seek  to  divert  the  infant 
Jesus;  they  turn  the  pages  of  a  book  for  him,  offer  him  fruits,  help  St. 
Joseph  to  draw  down  the  branches  of  the  date-palm,  or  tether  the  ass  to  a 
tree.  Youthful  genii,  scattered  in  jovous  profusion  throughout  the  composi- 
tions, are  busily  employed  in  supporting  models  of  cities,  pastoral  staves, 
books,  and  mitres;  they  peer  into  the  Magdalen's  jar  of  ointment,  or  play 
with  St.  George's  armor. 

It  is  clear  that  this  intensity  of  life,  expressing  itself  harmoniously  in  every 
detail,  tends  to  the  production  of  an  emotional,  rather  than  of  a  technical 
effect;  and  therefore,  that  the  artist's  desire  to  express  his  thought  was  at 
least  equal  to  his  passion  for  pictorial  result.  Hence  it  would  seem  that 
criticism  has  occasionally  confused  beauty  and  harmony  of  composition  with 
breadth  and  grandeur  of  subject.  The  themes  which  agitated  the  minds  of 
the  pontifical  court,  and  suggested  the  works  of  Michelangelo  and  Raphael, 
were  no  doubt  more  complex  than  those  which  contented  Correggio,  and 
demanded  a  more  intense  application  of  the  intellect.  The  triumph  of  Cor- 
reggio's art  lies  in  this,  that  the  workings  of  his  own  psychologic  personality 
informed  the  simplest  themes  with  a  noble  poetry,  and  that  by  their  means 
he  arrived  at  the  loftiest  ideality.   .   .   . 

The  predominant  sentiment  of  his  creations  is  joy.  He  could  not  linger 
over  mournful  subjects;  his  treatment  of  them  is  always  summary.  On  the 
other  hand,  his  own  delighted  emotion  overflows  when  he  can  fittingly  give 
himself  up  to  the  expression  of  triumphant  life,  of  laughter,  of  rapture! 
Michelangelo,  always  grandiose  and  disdainful,  seldom  smiled  himself  and 


Corrcggio  31 

seldom  created  a  smiling  face.  Lofty  and  generous,  he  was  saddened  by 
scorn  of  the  ignoble  conflicts  which  rent  Italy  asunder,  and  finally  destroyed 
her  liberty.  He  was  the  artist  of  the  grave  and  the  sublime.  Raphael  touched 
the  classic  dignity  of  his  forms  with  the  mingled  sweetness  and  melancholy 
of  his  own  angelic  character.  His  Madonnas  often  seem  to  gaze  at  the 
Child  with  infinite  sadness,  as  if  presaging  the  mournful  end,  and  agitated 
by  the  vision  of  Calvary.  Leonardo,  the  darling  of  nature,  showed  a  deeper 
and  more  varied  range  of  feeling.  To  him  was  it  first  given  to  "portray  the 
joy  of  spiritual  bliss,  the  intimate  beauty  of  the  soul."  He  sought  the  beau- 
tiful in  all  things,  and  strove  to  reproduce  it  with  the  perfection  of  technical 
mastery.  The  very  universality  of  his  genius  prevented  the  concentration  of 
his  powers,  and  he  died,  leaving  a  few  pictures  of  the  highest  psychological 
and  technical  beauty,  in  which,  nevertheless,  we  miss  that  variety  of  attitude 
and  that  full  development  of  human  expression  achieved  by  Correggio.  By 
the  latter,  joyful  emotion  is  rendered  with  so  much  charm,  completeness,  and 
spontaneity  that  it  communicates  itself  as  if  by  magic  to  the  spectator.  .  .  . 
Even  those  least  disposed  to  admire  Correggio's  forms,  the  rigid  devotees 
of  Florentine  dignity  and  correctness,  cannot  but  admit  the  fascination  that 
breathes  from  a  thousand  lovely  creations,  moving  and  smiling  in  the  efful- 
gent light  of  morning  and  spring.  This  is  the  "demoniac  power,"  as  Goethe 
calls  it,  which  informs  the  work  of  the  great  creative  genius.  The  magic  of 
form,  the  intoxication  of  movement  and  sentiment,  awaken  an  emotion 
against  which  reason  and  criticism  are  alike  powerless.  All  defects  are  for- 
gotten, and,  filled  with  wondering  admiration,  we  recognize  the  artist's 
greatness  in  our  own  sense  of  delighted  enjoyment.  —  from  the  Italian, 

BY  FLORENCE  SIMMONDS. 

BERNHARD    BERENSON  'STUDY    AND    CRITICISM    OF    ITALIAN     ART' 

IT  happens  that  the  English  poets  afford  striking  parallels  to  the  Italian 
painters.  Thus,  there  is  a  decided  similarity  of  genius  between  Shake- 
speare and  Titian,  and  between  Michelangelo  and  Milton.  A  lover  of  these 
poets  cannot  help  finding  the  corresponding  painters  much  more  intelligible. 
But  centuries  had  to  elapse  before  emotions  so  intense  as  those  Correggio 
felt  found  expression  in  literature — in  Shelley  when  he  is  at  his  best,  and  in 
Keats  when  he  is  perfect. 

JACOB    BURCKHARDT  '  <DER     CICERONE' 

AS  free  from  the  bonds  of  ecclesiastical  traditions  as  Michelangelo,  Cor- 
./a.  reggio  saw  in  his  art  the  means  of  making  his  representations  of  life  as 
sensuously  charming  and  as  sensuously  real  as  possible.  In  this  he  was 
singularly  gifted,  and  is  in  this  type  of  creation  an  originator  and  discoverer, 
even  when  compared  with  Leonardo  and  Titian.  .   .   . 

Correggio  was  the  first  to  represent  completely  and  perfectly  the  reality  of 
genuine  nature.  It  is  not  this  or  that  beautiful  or  charming  form  which 
fascinates  us  in  his  work,  but  rather  it  is  the  absolute  conviction  that  this 
form  actually  exists  in  space  and  light. 


32  ;|Ea^ter^in9lrt 

From  a  purely  technical  point  of  view  Correggio  denotes  the  last  and 
highest  development  of  Italian  painting.  His  chiaroscuro  is  proverbially 
famous.  The  fifteenth  century  shows  innumerable  attempts  in  this  kind,  but 
these  attempts  seem  to  have  aimed  only  at  giving  some  special  part  of  the 
picture  a  more  finished  modeling.  Correggio  was  the  first  to  make  use  of 
chiaroscuro  as  an  essential  means  for  the  expression  of  a  pictorially  com- 
biAed  whole,  and  through  the  play  of  light  and  shade  to  render  the  appear- 
kancfciOf  life  itself.  Moreover,  Correggio  was  the  first  to  recognize  that  what 
jiv^  the  greatest  beauty  of  aspect  to  the  human  body  is  half-lights  and 
reflections.  His  color  in  the  flesh-tints  is  perfect,  and  is  laid  on  in  a  way 
that  shows  infinite  study  of  the  appearance  in  air  and  light.  For  the  rest, 
\h^  does  not  go  into  detail;  he  seeks  rather  the  euphony  of  the  transitions, 
mie  harmony  of  the  whole. 

The  most  marked  characteristic  of  Correggio's  style,  however,  is  the  uni- 
versal mobility  of  his  figures.  Without  this  motion  there  exists  for  him 
neither  life  nor  space.  Or  rather,  he  measures  life  and  space  according  to 
the  human  form  in  motion,  which  in  some  cases  he  presents  violently  fore- 
shortened. He  gives  to  the  celestial  world  a  cubically  measured  space,  and 
fills  it  with  powerful  moving  forms.  With  him  the  arrangement  is  purely 
pictorial,  arranged  in  perspective  and  shown  from  the  spectator's  point  of 
view.  This  motion,  however,  is  not  merely  external;  it  interpenetrates  the 
figures  from  within  outwards;  Correggio  divines,  knows,  and  paints  the 
finest  thrills  of  nervous  life,  the  joy  of  existence  from  a  serene  and  tranquil 
happiness  to  the  intoxication  of  the  senses  triumphant. 

There  is  no  question  with  Correggio  of  grandeur  in  lines,  of  severe  archi- 
tectonic composition,  nor  of  sublime  and  free  beauty.  Instead  of  monu- 
mental construction  he  gives  us  picturesque  grouping;  instead  of  rhythm  of 
line  the  harmonious  play  of  light  and  shade;  and  with  him  charm  and  grace 
take  the  place  of  a  grand  and  classic  purity  of  style. 

In  the  tranquil  joy  of  living,  in  grace  and  serene  happiness,  he  may  be 
said  to  represent  the  feminine  side  of  the  life  of  the  senses,  as  later,  Rubens, 
who  owes  so  much  to  him,  forms  his  complement  in  depicting  the  mascu- 
line. When  Correggio  touches  upon  this  side  he  fails  from  lack  of  earnest- 
ness and  strength,  but  when  he  remains  within  his  own  domain  he  is  inimit- 
able.  FROM  THE  GERMAN. 

W.     M.     ROSSETTI  'ENCYCLOPEDIA    BRITANNICA' 

WHEN  we  come  to  estimate  painters  according  to  their  dramatic  fac- 
ulty, their  power  of  telling  a  story  or  impressing  a  majestic  truth, 
their  range  and  strength  of  mind,  we  find  the  merits  of  Correggio  very 
feeble  in  comparison  with  those  of  the  highest  masters,  and  even  of  many 
who,  without  being  altogether  great,  have  excelled  in  these  particular  quali- 
ties. Correggio  never  means  much,  and  often,  in  subjects  where  fullness  of 
significance  is  demanded,  he  means  provokingly  little.  He  expressed  his  own 
miraculous  facility  by  saying  that  he  always  had  his  thoughts  at  the  end  of 
his  pencil:  in  truth,  they  were  often  thoughts  rather  of  the  pencil  and  its 


Corteggto  33 

controlling  hand  than  of  the  teeming  brain.  He  has  the  faults  of  his  excel- 
lences,— sweetness  lapsing  into  mawkishness  and  affectation,  empty  in  ele- 
vated themes  and  lasciviously  voluptuous  in  those  of  a  sensuous  type,  rapid 
and  forceful  action  lapsing  into  posturing  and  self-display,  fineness  and  sinu- 
osity of  contour  lapsing  into  exaggeration  and  mannerism,  daring  design 
lapsing  into  incorrectness.  No  great  master  is  more  dangerous  than  Cor- 
reggio  to  his  enthusiasts;  round  him  the  misdeeds  of  conventionalists  and 
the  follies  of  connoisseurs  cluster  with  peculiar  virulence,  and  almost  tend 
to  blind  to  his  real  and  astonishing  excellence  those  practitioners  or  lovers 
of  painting  who,  while  they  can  acknowledge  the  value  of  technique,  are 
still  more  devoted  to  greatness  of  soul,  and  grave  or  elevated  invention  as 
expressed  in  the  form  of  art. 

THEOPHILE    GAUTIER  <GUIDE    DE    L'AMATEUR    AU    MUSEE    DU    LOUVRE' 

STENDHAL,  one  of  the  least  emotional  of  critics,  has  declared  that  he 
who  does  not  love  Correggio's  pictures  has  no  soul — and  I  avow  that  I 
am  of  the  same  opinion.  Much  as  I  admire  other  masters,  I  must  confess 
that  I  cannot  think  of  Correggio  without  hearing,  deep  in  my  secret  heart, 
the  echo  of  the  words  that  Algarotti  breathed  before  the  'St.  Jerome':  "7a 
solo  mi  piaci /" — You — you  only — do  delight  me! 


Ctje  Woxk^  of  Corressto. 

DESCRIPTIONS     OF     THE     PLATES 
MADONNA     WITH     ST.     FRANCIS  ROYAL    GALLERY:     DRESDEN 

THIS  altar-piece,  painted  in  1514  for  the  Franciscan  church  of  Cor- 
reggio, when  Allegri  was  but  twenty  years  old,  is  the  first  of  the  artist's 
works  mentioned  in  existing  records.  It  was  completed  in  five  months,  and 
the  youthful  painter  received  in  payment  the  sum  of  one  hundred  ducats. 
The  picture  was  preserved  in  its  original  place  until  1638,  when  it  was  car- 
ried off"  by  the  Duke  of  Modena  to  the  capital,  its  removal  causing  a  riot  in 
the  town  of  Correggio. 

The  Madonna  is  seated  on  a  high  throne  in  an  open  loggia,  holding  the 
Child  upon  her  knee.  Smiling,  she  extends  one  hand  to  St.  Francis  of  Assisi, 
who  half  kneels  in  adoration.  Behind  him  in  shadow  is  St.  Anthony  of 
Padua  with  book  and  lily,  and  on  the  opposite  side  of  the  throne  St.  Cath- 
erine stands  clasping  the  sword  and  palm  of  martyrdom,  and  resting  her  foot 
on  her  wheel.    In  front  of  her  is  St.  JoJwfcthe  Baptist,  clad  in  skins. 

In  this  early  work  of  Correggio's  the  influence  of  Mantegna  may  be  traced 
in  the  Madonna's  figure,  while  that  of  Costa  is  discernible  in  the  medallion 
on  the  throne.  The  Leonardesque  type  has  been  remarked  by  some  critics 
in  the  St.  John   and  in  the  gesture  of  the  Madonna,  while  others  have 


34  i^a^ttt^in'^tt 

observed  in  the  head  of  St.  Catherine  the  influence  of  Francia,  and  others 
still  of  Perugino.  But  throughout  the  individuality  of  Correggio  is  apparent; 
indeed,  Morelli  says  that  "in  no  early  work  of  any  other  artist,  Michel- 
angelo's 'David'  excepted,  do  we  perceive  so  pronounced  an  individuality  as 
in  this  painting." 

MADONNA    WITH     ST.     JEROME  PARMA     GALLERY 

THIS  picture,  the  most  precious  possession  of  the  Parma  Gallery,  and 
generally  considered  to  be  Correggio's  masterpiece,  was  ordered  in  1523 
by  Donna  Briseide  Colla,  a  wealthy  lady  of  Parma,  for  her  family  chapel  in 
the  Church  of  San  Antonio  in  that  city.  It  is  said  that  she  was  so  delighted 
with  it  that,  in  addition  to  the  price,  four  hundred  lire,  she  presented  the  artist 
with  "two  loads  of  wood,  some  wheat,  and  a  well-fattened  pig." 

Early  in  the  eighteenth  century  Don  John  V.  of  Portugal,  or  as  some 
believe,  the  King  of  Poland,  carried  on  secret  negotiations  with  Count 
Anguissola,  preceptor  of  the  church,  for  its  purchase,  but  Duke  Filippo  for- 
bade the  sale  of  such  a  national  treasure,  and  ordered  its  removal  to  the 
Cathedral,  where  it  remained  until  17  56,  when,  for  greater  safety,  he  had  it 
taken  by  armed  soldiers  to  his  villa  at  Colorno  and  there  placed  in  a  guarded 
chamber.  Finally  he  purchased  the  picture,  and  presented  it  to  the  nation. 
It  was  then  removed  to  the  Parma  Gallery;  but  when  Napoleon  entered 
Italy  with  his  victorious  army  and  spoiled  the  country  of  many  of  its  artistic 
treasures,  Correggio's  masterpiece  was  borne  off  by  his  soldiers  to  Paris,  in 
spite  of  Duke  Filippo's  offer  of  a  million  francs  for  its  ransom.  By  the  treaty 
of  1815,  however,  it  was  restored  to  Italy  and  returned  to  Parma  amid  the 
rejoicing  of  the  people,  who  placed  it,  with  due  honor,  in  a  kind  of  tribune 
especially  arranged  for  it  in  the  Parma  Gallery. 

The  Madonna,  robed  in  red  with  a  blue  drapery  falling  behind  her  head, 
is  seated  under  a  crimson  canopy,  holding  the  infant  Jesus.  On  the  left 
stands  St.  Jerome,  the  lion  at  his  feet,  and  on  the  right  Mary  Magdalen, 
clad  in  a  robe  of  pale  violet  with  yellow  drapery,  kneels  on  the  step  of  the 
throne.  "Perhaps  no  creation  of  Allegri's  genius,"  writes  Selwyn  Brinton, 
"has  ever  equalled  in  pure  beauty  this  figure  of  the  Magdalen.  A  lovely 
blonde,  she  leans  forward,  resting  her  soft  cheek  caressingly  against  the  little 
Saviour's  side,  his  dimpled  hand  just  touching  her  long  falling  tresses  of 
golden  hair."  Behind  her  a  cherub  slyly  peeps  into  her  jar  of  ointment, 
while  another  angel  near  the  throne  holds  an  open  book  before  the  child 
Jesus,  "smiling  so  naturally,"  says  Vasari,  "that  all  who  look  on  him  are 
moved  to  smile  also;  nor  is  there  any  one,  however  melancholy  in  tempera- 
ment, who  can  behold  him  without  feeling  a  sensation  of  pleasure."  "The 
picture  is  justly  celebrated,"  writes  Signor  Ricci,  "as  one  of  the  finest  pro- 
ductions, not  only  of  Correggio's,  but  of  Italian  art."  The  entire  composi- 
tion is  radiant,  palpitating,  living,  and  the  conception  is  marked  by  the  most 
perfect  originality  and  independence.  The  whole  canvas  is  suffused  with 
such  intense  sunlight  that  the  work  is  frequently  called  "The  Day,"//  Giorno, 
in  contradistinction  to  "The  Night"  of  the  Dresden  Gallery. 


Corrreggio  3S 

THE  HOLY  FAMILY  NATIONAL  GALLERY:  LONDON 

IT  is  said  that  this  picture,  painted  in  the  early  years  of  Correggio's  mar- 
riage, soon  after  the  birth  of  his  first  child,  was  suggested  by  the  painter's 
own  home  life.  The  scene  is  a  simple,  domestic  one,  with  nothing  to  mark 
the  group  as  the  Holy  Family  except  the  presence  of  Joseph,  the  carpenter, 
at  work  at  his  craft  in  the  background.  Mary,  with  the  household  basket 
beside  her  (from  which  the  picture  is  sometimes  called  the  'Madonna  della 
Cesta,'  or  'basket' ),  is  engaged  in  dressing  the  Child.  Although  lacking  in  the 
devout  religious  sentiment  observable  in  the  work  of  the  early  Italian  paint- 
ers, Correggio  has  here  given  expression  to  happy  maternal  love  and  childish 
life  and  playfulness  in  a  way  that  has  never  been  surpassed.  The  brilliant 
purity  of  coloring,  the  delicate  treatment  of  the  chiaroscuro,  combined  with 
the  harmonious  arrangement  of  the  composition  and  the  apparent  ease  of 
execution  render  the  picture  a  masterpiece.  "A  little  gem  of  extraordinary 
tenderness,"  Mengs  has  called  it,  and  Signor  Frizzoni  praises  it  as  "an  incom- 
parable marvel  of  light,  of  vivacity,  and  of  smiling  sweetness." 

MADONNA    DELLA    SCODELLA    [DETAIL]  PARMA    GALLERY 

THE  'Madonna  della  Scodella,'  of  which  the  central  part  is  here  repro- 
duced, is  perhaps  the  best  preserved  of  all  Correggio's  pictures.     The 
date  assigned  to  it  by  Signor  Ricci  is  1529-30. 

"We  find  here,"  writes  Camille  Guymon,  "thzt  pate,  rich  and  luminous 
in  the  lights,  deep  and  yet  transparent  in  the  shadows,  which  so  distinctly 
marks  Correggio's  later  manner.  The  scheme  of  the  whole  picture  is  as  fol- 
lows: in  the  depths  of  a  wood  the  Virgin  is  sitting  upon  a  little  hillock.  She 
is  clad  in  a  red  robe,  hidden  in  part  by  a  pale  yellow  drapery  with  blue 
hning.  In  her  right  hand  is  a  bowl  or  porringer  (^scodella),  which  has  given 
the  picture  its  name,  and  this  she  is  holding  out  toward  a  spring.  The  Child 
leans  against  her  breast,  and  turns  his  happy  face  toward  the  spectator.  His 
left  hand  rests  on  the  hand  of  his  mother  and  his  right  is  stretched  up  toward 
St.  Joseph,  who,  standing  just  behind,  extends  one  hand  to  the  boy  while 
with  the  other  he  grasps  the  branches  of  a  date-palm.  Angels  hover  above." 
"The  magic  effect  of  the  sunshine  in  the  mysterious  forest  glade,"  writes 
Burckhardt,  "the  loveliness  of  the  heads,  the  magnificent  color,  and  the 
indescribable  splendor  of  the  whole  make  this  work  one  of  the  painter's 
masterpieces." 

THE  NATIVITY  ("THE  NIGHT")  ROYAL  GALLERY:  DRESDEN 

CORREGGIO'S  famous  picture  of  the  Nativity  was  painted  in  1522-30 
for  the  Church  of  San  Prospero  at  Reggio,  by  order  of  Alberto  Pratoneri, 
as  an  altar-piece  for  his  chapel  in  that  church.  The  correspondence  between 
him  and  the  painter  concerning  the  work  is  preserved  in  the  archives  of  the 
State  of  Modena.  In  1640,  to  the  great  grief  of  the  citizens  of  Reggio,  the 
picture  was  secretly  and  "sacrilegiously"  carried  off  by  order  of  Duke  Fran- 
cesco, and  taken  to  Modena;  and  in  1746  it  passed  into  the  possession  of 
the  Elector  Augustus  III.  of  Saxony. 


36  J^ajBfter^in^rt 

Correggio's  treatment  of  the  subject  of  the  Nativity  was  suggested  by  a 
passage  in  one  of  the  apocryphal  gospels,  which  relates  how  St.  Joseph, 
entering  the  stable  at  Bethlehem,  saw  the  new-born  Child  shining  with  a 
supernatural  radiance  which  lighted  up  the  figure  of  the  mother.  The 
Madonna,  in  a  soft  blue  under-dress,  crimson  robe,  and  deep  blue  mantle, 
is  bending  tenderly  over  the  infant  Jesus  lying  in  the  manger,  while  on  the 
left  shepherds  draw  near,  and  in  the  background  St.  Joseph  is  seen  tethering 
an  ass.  Above  are  angels  "so  exquisitely  painted,"  says  Vasari,  "that  they 
seem  rather  to  have  been  showered  down  from  heaven  than  formed  by  the 
hand  of  the  painter."  A  brilliant  light  streams  from  the  body  of  the  Child, 
illuminating  the  group,  and  dazzling  one  of  the  figures,  a  woman,  who  shades 
her  face  with  her  hand.  This  artifice  of  making  the  light  proceed  from  a 
point  within  the  picture  was  unusual  with  Correggio,  whose  canvases  gen- 
erally glow  with  all  the  splendor  of  full  daylight;  but  the  trick  has  succeeded 
in  catching  popular  admiration;  though  Mr.  Berenson  believes  that  it  was 
the  sheer  humanity  of  this  picture  that  drew  so  many  pilgrims  to  it,  and  not, 
as  the  critics  of  that  time  said,  because  Correggio  had  the  wonderful  idea  of 
making  all  the  light  stream  from  the  Infant's  face.  "Correggio,"  he  says, 
"may  have  had  some  such  purpose,  only  as  an  intention  it  is  rather  literary 
than  pictorial,  and  it  is  more  likely  that  he  had  something  in  mind  far  less 
theological  and  poetical.  His  idea  seems  to  have  been  to  experiment  with 
lights.  From  the  Child's  face  the  light  streams  out  into  the  darkness,  and 
dies  away  just  before  it  encounters  the  first  white  of  dawn  appearing  over 
the  horizon.  In  the  present  condition  of  the  picture,  it  is  no  longer  possible 
to  judge  what  was  the  effect.  That  it  must  have  been  very  Wonderful  there  can 
be  no  doubt.  But  even  if  the  effect  of  the  meeting  of  half-lights  and  reflected 
lights  at  a  point  darker  than  either  could  still  be  appreciated,  it  would  remain 
true  that  not  the  lights,  but  the  human  interpretation  of  the  subject,  main- 
tains the  popularity  of 'The  Night.'" 

DANAE  BORGHESE    GALLERY:    ROME 

ORIGINALLY  painted  for  the  Duke  of  Mantua  (in  whose  possession 
Giulio  Romano  saw  it,  and,  according  to  Vasari  pronounced  it  the  finest 
picture  which  he  had  ever  beheld),  the  'Danae'  has  experienced  many  vicis- 
situdes. From  Italy  to  Spain  and  back  again  to  Italy,  thence  to  Prague  and 
to  Stockholm,  then  to  Paris,  then  to  London,  and  back  again  to  Paris  it 
wandered,  until  in  the  last-named  city  it  was  bought,  some  seventy  years 
ago,  by  Prince  Borghese  for  a  mere  nominal  price  because  it  was  then  con- 
sidered a  copy.  He  gave  it  a  permanent  home  in  his  palace  at  Rome.  The 
surface  of  the  picture  has  suffered,  and  its  glazings  have  disappeared,  but  it 
has  escaped  the  hand  of  the  restorer,  and  is  perhaps,  as  Morelli  has  said, 
"the  most  Correggiesque  work  of  Correggio,"  —  a  veritable  triumph  of  aerial 
perspective  and  chiaroscuro. 

"If  he  could,"  writes  Arsene  Alexandre,  "Correggio  would  have  painted 
his  religious  pictures  with  undraped  figures;  but  as  this  was  impossible,  he 
did  his  best  to  make  up  for  it  by  splendors  of  color  and  light.  It  is  evident, 
however,  that  he  found  his  greatest  delight  in  painting  mythological  subjects ; 


Correggio  37 

and  no  man  who  loved  flesh  and  light  as  he  did  can  be  considered  unhappy 
when  he  has  painted  such  pictures  as  the  'Leda,'  the  'Education  of  Cupid,' 
the  'Antiope,'  the  'lo,'  and  the  'Danae.'" 

MADONNA    WITH    ST.     SEBASTIAN  ROYAL    GALLERY:    DRESDEN 

CORREGGIO  painted  this  picture  in  1525  for  the  altar  of  the  Chapel 
of  St.  Geminianus,  in  the  Cathedral  of  Modena,  by  order  of  the  Con- 
fraternity of  St.  Sebastian,  a  company  of  archers,  who  gave  him  the  commis- 
sion in  fulfilment,  it  is  said,  of  a  vow  made  after  the  plague  had  visited  that 
town.  It  represents  the  most  perfect  period  of  Correggio's  art,  but  has  lost 
much  of  its  original  freshness,  having  suffered  severely  from  repainting  and 
varnishing. 

The  Madonna  is  enthroned  upon  clouds,  holding  on  her  lap  the  Child. 
A  flood  of  light  envelops  them,  shading  off  into  a  luminous  haze,  in  which 
appear  angels'  heads,  while  genii  sport  among  the  clouds  beside  and  beneath 
them.  At  the  Madonna's  feet  are  St.  Sebastian,  bound  to  a  tree,  St.  Gem- 
inianus, patron  saint  of  Modena,  with  his  emblem,  a  church,  held  by  a  child 
in  the  foreground,  and  St.  Roch,  patron  saint  of  the  sick  and  especially  of 
the  plague-stricken,  who,  in  pilgrim's  dress,  asleep,  sees  the  vision  in  his 
dreams. 

"Correggio  has  not  succeeded  in  uniting  dignity  and  enthusiasm  here  any 
more  than  elsewhere,"  writes  Dr.  Meyer.  "The  action,  however,  is  well 
balanced,  and  the  effects  produced  by  the  wonderful  play  of  light  and  shade 
as  charming  as  ever." 

THE    VIRGIN    ADORING    THE    CHRIST-CHILD  UFFIZI    GALLERY:     FLORENCE 

IN  this  picture  the  Virgin  is  represented  kneeling  on  a  stone  step  before 
the  Child,  who  lies  on  a  linen  cloth  placed  over  a  bundle  of  straw,  and, 
looking  up  into  her  face,  stretches  out  one  tiny  arm  towards  his  mother,  who, 
half  in  play,  half  in  tender  adoration,  raises  her  hands  over  him.  "Like 
some  beautiful  idyl,"  writes  Dr.  Meyer,  "the  whole  is  set  in  a  lovely  land- 
scape which  effectively  blends  the  beauty  of  southern  scenery  with  the  state- 
liness  of  classical  architecture.  A  full  light  is  thrown  over  the  infant  Jesus 
and  the  Virgin,  and  gradually  toned  off  towards  the  background.  The  effect 
produced  is  almost  as  if  the  figures  emitted  their  own  radiance,  which  grew 
fainter  and  fainter  till  it  at  last  dissolved  into  space." 

Signor  Ricci  criticizes  the  lack  of  harmony  in  the  chord  of  color  struck 
by  the  Virgin's  red  robe  and  blue  mantle  with  its  pale  green  lining ;  but,  on 
the  other  hand,  accords  high  praise  to  the  "altogether  delightful  composition 
and  action." 

MARRIAGE    OF    ST.     CATHERINE  LOUVRE:    PARIS 

A  CCORDING  to  tradition,  Correggio  painted  this  picture,  which  is  now 
J~\,  one  of  the  treasures  of  that  holy  of  holies,  the  Salon  Carre  of  the 
Louvre,  in  1519.  The  legend  of  St.  Catherine  of  Alexandria,  the  beautiful 
maiden  queen  of  Egypt,  relates  that  this  young  pagan  sovereign  was  beset 
by  suitors  for  her  hand,  but  could  approve  of  none  of  them.    In  her  trouble 


38  ;^a^ttt^    in    %tt 

she  had  a  dream  in  which  the  Virgin  and  the  Child  appeared  to  her,  and  she 
recognized  in  the  Child  the  unknown  spouse  to  whom  her  heart  was  given; 
but  he  turned  away  his  head  and  refused  her.  "Then  Catherine  visited  a 
Christian  hermit  who  dwelt  in  the  desert,  and  fell  at  his  feet,  declaring  her 
vision  and  saying,  'What  shall  I  do  to  become  worthy  of  my  celestial  bride- 
groom?' And  the  hermit  converted  her  from  her  heathenism,  and  baptized 
her  in  the  Christian  faith;  and  that  night,  as  Catherine  slept  upon  her  bed, 
the  Blessed  Virgin  appeared  to  her  again,  accompanied  by  her  divine  Son. 
And  Mary  again  presented  Catherine  to  the  Lord  of  Glory,  saying,  'Lo! 
she  hath  been  baptized,  and  I  myself  have  been  her  godmother!'  Then  the 
Lord  smiled  upon  her,  and  held  out  his  hand  and  plighted  his  troth  to  her, 
putting  a  ring  on  her  finger.  When  Catherine  awoke  she  looked  and  saw 
the  ring  upon  her  finger;  and  henceforth,  regarding  herself  as  the  betrothed 
of  Christ,  she  despised  the  world,  thinking  only  of  the  day  which  should 
reunite  her  with  her  celestial  Lord." 

"The  faces  of  the  Virgin  Mother  and  St.  Catherine,"  writes  Theophile 
Gautier,  "have  that  childish  innocence  of  beauty  which  Correggio — the 
preeminent  painter  of  children — seemed  loath  to  take  from  any  of  his 
women.  The  Child  Saviour  places  the  mystic  ring  upon  the  finger  of  his 
spouse  with  true  infantile  seriousness;  and  the  expression  of  St.  Catherine, 
her  eyes  veiled  under  their  lashes,  shows  something  of  that  inward  welling 
of  joy  which  Correggio  so  loved  to  suggest,  and  which  here  accords  exactly 
with  the  subject.  The  witness  to  the  marriage  is  the  half  angelic  and  wholly 
beautiful  St.  Sebastian,  who,  with  the  arrows  symbolic  of  his  martyrdom, 
might  be  easily  taken,  were  the  subject  a  profane  one,  for  the  God  of  Love 
himself.  Through  the  golden  glow  which  time  has  lent  this  picture  we  still 
can  realize  the  silvery  freshness  of  its  original  coloring,  and  catch  the  play  of 
a  thousand  delicate  tones  that  hide  in  the  subtle  gradations  from  light  to 
shadow." 

MADONNA  WITH  ST.  GEORGE  ROYAL  GALLERY:  DRESDEN 

THIS  picture,  the  last  of  Correggio's  great  altar-pieces,  was  formerly  in 
the  Scuola  of  St.  Peter  Martyr  at  Modena,  but  was  taken  by  violence 
from  the  monks,  and  sold  to  the  Elector  of  Saxony  in  1746. 

In  describing  the  work,  Selwyn  Brinton  writes:  "The  atmosphere  seems 
to  throb  with  clear  tremulous  light.  The  Madonna  is  enthroned  beneath  an 
arch,  and  at  her  side  are  St.  George,  St.  Peter  Martyr,  St.  John  the  Baptist, 
and  St.  Geminianus.  Of  these,  St.  John  is  a  glorious  adolescent  youth, 
laughing  and  fair  of  form,  a  living  embodiment  of  those  qualities  which  have 
made  men  call  this  artist  the  'Faun  of  the  Renaissance.'  More  serene,  more 
nobly  heroic,  is  the  St.  George,  his  right  hand  grasping  his  spear,  his  left 
resting  on  his  hip,  his  foot  planted  on  the  monstrous  head  of  the  slain 
dragon;  and  around  his  knees  are  those  naked  child-angels,  among  the  love- 
liest of  Allegri's  lovely  putti,  of  which  the  painter  Reni  once  asked  a  citizen 
of  Modena  if  Correggio's  putti  at  St.  Peter  Martyr's  had  grown  up  and  left 
their  places  where  he  had  seen  them,  for  so  vivid  and  life-like  were  they  that 
it  was  impossible  to  believe  they  could  remain." 


C  0  r  r  e  g  9  i  0      '•*  '**•  -•  •  •'  '•••*'•  •  '39 

THE     PRINCIPAL    PAINTINGS    AND     FRESCOS    OF    CORREGGIO,    WITH 
THEIR    PRESENT    LOCATIONS 

AUSTRIA.  Budapest  Gallery:  Madonna  del  Latte  —  Vienna,  Imperial  Gallery: 
^  lo  — ENGLAND.  London,  National  Gallery:  The  Education  of  Cupid;  The 
Holy  Family  (Plate  hi);  'Ecce  Homo' — London,  Hampton  Court  Gallery:  Ma- 
donna with  St.  James;  St.  Catherine  reading — London,  Duke  of  Wellington's  Col- 
lection: Christ  in  the  Garden  — London,  Lord  Ashburton's  Collection:  6t.  Martha, 
Mary  Magdalen,  St.  Peter,  and  St.  Leonard — London,  Collection  of  R.  H.  Benson, 
Esg. :  Christ  taking  leave  of  his  Mother — London,  Collection  of  Ludwig  Mono, 
Esq.:  Angels'  Heads  (fresco)  —  Richmond,  Sir  Francis  Cook's  Collection:  An 
Angel's  Head  (fresco);  Two  Angels'  Heads  (fresco)  —  FRANCE.  Paris,  Louvre:  Mar- 
riage of  St.  Catherine  (Plate  ix);  Antiope;  Allegorical  Painting  of  Virtue  (tempera);  Alle- 
gorical Painting  of  Vice  (tempera)  —  GERMANY.  Berlin  Gallery:  Leda  —  Dres- 
den, Royal  Gallery:  Madonna  with  St.  Francis  (Plate  i);  Madonna  with  St.  Sebastian 
(Plate  VII);  The  Nativity  ("The  Night")  (Plate  v);  Madonna  with  St.  George  (Plate  x) 

—  Frankfort,  Stadel  Institute:  Madonna  of  Casalmaggiore  (?)  —  Munich  Gallery: 
Piping  Faun  —  Sigmaringen,  Prince  Leopold  of  Hohenzollern's  Collection:  Vir- 
gin and  Child  with  St.  Elizabeth  and  the  little  St.  John  —  ITALY.  Florence,  Uffizi 
Gallery:  The  Virgin  adoring  the  Child  (Plate  viii);  Repose  in  Egypt;  Head  of  John 
the  Baptist;  Virgin  and  Child  with  Angels  —  Milan,  Brera  Gallery:  Adoration  of  the 
Magi  —  Milan,  Municipal  Museum:  Virgin  and  Child  and  little  St.  John  —  Milan, 
Cav.  Benigno  Crespi's  Collection:  The  Nativity  —  Milan,  Dr.  Frizzoni's  Col- 
lection: Marriage  of  St.  Catherine  —  Modena,  Estense  Gallery:  The  Campori  Ma- 
donna; Fragments  of  frescos  transferred  to  canvas  —  Naples  Museum:  Madonna  with  the 
Rabbit  ("La  Zingarella")  —  Parma  Gallery:  Madonna  della  Scodella  (Plate  iv);  An- 
nunciation (fresco);  Madonna  della  Scala  (fresco);  Pieta;  Martyrdom  of  St.  Placidus  and 
St.  Flavia;  Madonna  with  St.  Jerome  ("The  Day")  (Platen)  —  Parma,  Cathedral: 
[cupola]  Assumption  of  the  Virgin  (fresco)  —  Parma,  Church  of  St.  John  the  Evan- 
gelist: [cupola]  Ascension  of  Christ  (fresco);  [lunette  over  sacristy  door]  St.  John  (fresco) 

—  Parma,  Convent  of  San  Paolo:  Diana,  Putti,  and  Lunettes  (frescos)  —  Parma, 
Library:  Coronation  of  the  Virgin  (fresco)  —  Pa  via.  Municipal  Museum:  The  Malas- 
pina  Madonna  —  Rome,  Borghese  Gallery:  Danae  (Plate  vi)  —  RUSSIA.  St.  Peters- 
burg, Hermitage  Gallery:  Madonna  and  Child — SPAIN.  Madrid,  The  Prado: 
Madonna  and  Child  with  St.  John;  'Noli  me  tangere' — UNITED  STATES.  New 
York,  Metropolitan  Museum:  Head  of  an  Angel  (on  plaster). 


Cortesgio  JSiftltograpt)? 

A     LIST    OF    THE     PRINCIPAL    BOOKS    AND     MAGAZINE    ARTICLES    DEALING 

WITH    CORREGGIO 

AFFO,  I.  Ragionamento  sopra  una  stanza  dipinta  del  Correggio,  etc.  (Parma,  1794)  — 
,.  Alexandre,  A.  Histoire  populaire  de  la  peinture:  ecole  italienne.  (Paris,  1894) 
—  Arco,  C.  d'.  Le  arti  e  le  artisti  mantovani.  (Mantua,  1859) — Berenson,  B.  Study 
arid  Criticism  of  Italian  Art.  (London,  1901)  —  BiGi,  Q.  Notizie  di  Antonio  Allegri,  etc. 
(Modena,  1873)  —  Blanc,  C.  Histoire  des  peintres  de  toutes  lesecoles:  ecoles  lombardes. 
(Paris,  1875) — Blashfield,  E.  H.  and  E.  W.  Italian  Cities.  (New  York,  1900)  — 
Brinton,  S.  Correggio.  (London,  1900)  —  Brinton,  S,  The  Renaissance  in  Italian 
Art.  (London,  1898)  —  BuguoY,  G.  von.  Worte  der  Begeisterung  von  der  Nacht  des 
Correggio.  (Leipsic,  1825)  —  Burckhardt,  J.  Der  Cicerone  [edited  by  W.  Bode]. 
(Leipsic,  1898)  —  Burton,  Sir  F.  Descriptive  Catalogue  of  the  National  Gallery.  (Lon- 
don, 1892)  —  CoLBACCHiNi,  G.  Due  dipinti  da  Correggio.  (Venice,  1875)  —  CoxE,  W. 
Sketches  of  the  Lives  of  Correggio  and  Parmegiano.  (London,  1823)  —  Eastlake,  Sir 
C.  L.  Materials  for  a  History  of  Oil-painting.  (London,  1869)  —  Ebe,  G.  Die  Spat- 
Renaissance.     (Berlin,  1886)  —  Frizzoni,   G.     Arte  italiana  del  rinascimento.    (Milan, 


4b  ^a^ttt0    in    ^rt 

iS^i)  —  Gautier.  T.  Guide  de  Tamateur  au  Musee  du  Louvre.  (Paris,  1882)  — 
GiORDANi,  G.  Sopra  sei  bozzi  ad  olio  dipinti  da  Allegri.  (Bologna,  1867)  —  Guymon,  C. 
Le  Correge  a  Parme.  (Paris,  1877)  —  Heaton,  M.  C.  Correggio.  (London,  1882)  — 
Jameson,  A.  Memoirs  of  Italian  Painters.  (New  York,  1896)  —  Knackfuss,  H.,  and 
ZiMMERMANN,  M.  G.  Allgemeine  Kunstgeschichte.  (Leipsic,  1900)  —  Kugler,  F.  T. 
Handbook  of  Painting.  (London,  1887)  —  Landon,  C.  P,  Vies  et  cEuvres  des  peintres. 
(Paris,  1803-17) — Lanzi,  L.  History  of  Painting  in  Italy:  Trans,  by  Thomas  Roscoe. 
(London,  1828)  —  Leone,M.  Pitture  di  A.  A.  da  Correggio.  (Modena,  1841)  —  Lomazzo, 
G.  P.  Idea  del  tempio  della  pittura.  (Milan,  1590) — Lubke,  W.  History  of  Art.  (New 
York,  1878)  —  Majoli,  A.  La  vita  e  le  opere  del  Correggio.  (Milan,  1888)  —  Malas- 
PINA,  C.  La  vita  e  le  opere  di  Correggio.  (Parma,  1869) — Mantz,  P.  Les  grands 
maitres  de  la  Renaissance.  (Paris,  1888)  —  Mantz,  P.  Les  chefs-d'oeuvre  de  la  peinture 
italienne.  (Paris,  1 870)  —  Mengs,  R.  Memorie  concernenti  la  vita  e  le  opere  di  A.  Allegri. 
(Bassano,  1783)  —  Meyer,  J.  Antonio  Allegri  da  Correggio:  Trans,  by  Mrs.  Charles 
Heaton.  (London,  1876)  —  Mignaty,  M.  A.  Le  Correge.  (Paris,  1881)  —  Morelli, 
G.    Italian  Masters  in  German  Galleries:  Trans,  by  Mrs.  L.  M.  Richter.    (London,  1883) 

—  Morelli, G.  Italian  Painters:  Trans,  by  C.  J.Ffoulkes.  (London,  1892-93) — Mortini, 
P.  Studi  intorno  il  Correggio.  (Parma,  1875)  —  Mundler,0.  Essaid'une  analyse  critique, 
etc.  (Paris,i85o) — Muntz,  E.  Histoire  de  Tart  pendant  la  Renaissance.  (Paris,i895)  — 
Orloff,  G.  Essai  sur  Thistoire  de  la  peinture  en  Italie.  (Paris,  1823)  —  Planche,  G. 
Etudes  sur  les  arts.  (Paris,  1855)  —  Pungileone,  L.  Memorie  istoriche  di  Antonio 
Allegri.  (Parma,  181 7-21)  —  Ricci,  C.  Antonio  Allegri  da  Correggio:  Trans,  by 
Florence  Simmonds.  (London,  1896)  —  Richter,  J.  P.  Correggio  [in  Dohme's  Kunst 
und  Kiinstler,  etc.].  (Leipsic,  1879)  —  Rose,  G.  B.  Renaissance  Masters.  (New  York, 
1858)  —  RossETTi,  W.  M.    Correggio  [in  Encyclopaedia  Britannica]  .    (Edinburgh,  1883) 

—  Rossi,  G.  G.  DI.  Pitture  di  Antonio  Allegri,  etc.  (Parma,  1800)  —  Ruskin,  J,  Mod- 
ern Painters.   (London,  1843)  —  Springer,  A.   Die  Renaissance  in  Italien.    (Leipsic,  1896) 

—  Stillman,  W.  J.  Old  Italian  Masters.  (New  York,  1892)  —  Strzygowski,  J.  Das 
Werden  des  Barock  bei  Raphael  und  Correggio.  (Stra.sburg,  1898)  —  Symonds,  J.  A. 
Renaissance  in  Italy.  (London,  1875)  —  Symonds,  J.  A.  Sketches  and  Studies  in  Italy 
and  Greece.  (London,i898) — Thode,  H.  Correggio.  (Leipsic,  1898)  —  Tiraboschi,  G. 
Correggio.  (Modena,  1786)  —  ToscHi,  P.  Tutti  gli  aftreschi  del  Correggio  in  Parma. 
(Parma,  1846)  —  Vanni,  G.  B.  Frescoes  in  the  Duomo  of  Parma  by  Correggio.  (Rome, 
1642)  —  Van  Rensselaer,  M,  G.  Six  Portraits,  (Boston,  1889)  —  Vasari,  G.  Lives 
of  the  Painters.  (New  York,  1897)  —  Woltmann,  A.,  and  Woermann,  K.  History  of 
Painting:  Trans,  by  Clara  Bell.    (London,  1887). 

MAGAZINE    articles 

ACADEMY,  1872:  Meyer's  'Correggio'  (Crowe  and  Cavalcaselle)  —  Archivio 
XX  STORico  dell' arte,  1888:  Quadri  del  Correggio  per  Albinea  (A.  Venturi).  1894: 
La  Madonna  della  Scodella  (G.  Frizzoni)  —  L'Arte,  1898:  II  Maestro  di  Correggio 
(A.  Venturi).  1900:  I  quadri  di  scuola  italiana  nella  Galleria  di  Budapest  (A,  Venturi)  — 
L' Artiste,  1865:  Le  Correge  (T.  Gautier)  —  Art  Journal,  1882:  Paolo  Toschi  and 
Correggio  (W.  Sharp)  —  Blackwood's  Magazine,  1840:  On  Leonardo  da  Vinci  and 
Correggio  —  Century  Magazine,  1892:  Correggio  (W.  J.  Stillman)  —  Dial,  1896: 
Ricci's  'Life  of  Correggio'  (J.  C.  Van  Dyke)  —  Gazetta  di  Parma,  1890:11  Correggio 
(A.  Rondani)  —  Gazette  des  Beaux-Arts,  1901:  Un  Dessin  du  Correge  (E.  Jacobsen) 

—  Die  graphischen  Kunste,  1880:  Correggio's  mythologische  Darstellungen  (H. 
v.Tschudi)  —  Illustrierte  Zeitung,  1900:  Ein  neuer  Correggio — Jahrbuch  der 
Preussischen  Kunstsammlungen,  1891:  Correggio's  Madonna  von  Casalmaggiore 
(H.  Thode) — London  Society,  1883:  Correggio  (A.  H.  G.)  —  Magazine  of  Art, 
1885:  A  Convent  Room  at  Parma  (J.  Cartwright).  1893:  Allegri' s  'Night'  and  'Day' 
(L.  Scott).  1896:  Ricci's  'Life  of  Correggio'  (W.  A.)  —  Nation,  1894:  Fourth  Centenary 
of  Correggio  (B.  Berenson)  —  Nuova  Antologia,  1890:  II  pittore  delle  Grazie  (A.  Ven- 
turi). 1894:  Come  visse  il  Correggio  (A.  Rondani)  —  La  Nouvelle  Revue,  1888: 
Correge  au  Louvre  (A.  Gruyer)  —  Portfolio,  1888:  Correggio  (J.  Cartwright) — Satur- 
day Review,  1896:  Ricci's  'Correggio' — Zeitschrift  fur  bildende  Kunst,  1875: 
Galerie  Borghese  (G.  Morelli).     1899:  Eine  neue  Biographic  des  Correggio  (G.  Gronau). 


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